High-definition television (HDTV) provides a resolution that is substantially higher than that of standard-definition television.

HDTV may be transmitted in various varieties:

• 1080p - 1920×1080p: 2,073,600 pixels (approximately 2.1 megapixels) per frame
• 1080i - typically either:
  • 1920×1080i: 1,036,800 pixels (approximately 1 megapixel) per field or 2,073,600 pixels (approximately 2.1 megapixels) per frame
  • 1440×1080i:^[1] 777,600 pixels (approximately 0.8 megapixels) per field or 1,555,200 pixels (approximately 1.6 megapixels) per frame
• 720p - 1280×720p: 921,600 pixels (approximately 0.9 megapixels) per frame

The letter "p" here stands for progressive scan while "i" indicates interlaced.

When transmitted at two megapixels per frame, HDTV provides about five times as many pixels as SD (standard-definition television).

History of high-definition television[link]

The term high definition once described a series of television systems originating from the late 1930s; however, these systems were only high definition when compared to earlier systems that were based on mechanical systems with as few as 30 lines of resolution.

The British high-definition TV service started trials in August 1936 and a regular service on 2 November 1936 using both the (mechanical) Baird 240 line and (electronic) Marconi-EMI 405 line (377i) systems. The Baird system was discontinued in February 1937.^[2] In 1938 France followed with their own 441-line system, variants of which were also used by a number of other countries. The US NTSC system joined in 1941. In 1949 France introduced an even higher-resolution standard at 819 lines (768i), a system that would be high definition even by today's standards, but it was monochrome only. All of these systems used interlacing and a 4:3 aspect ratio except the 240-line system which was progressive (actually described at the time by the technically correct term "sequential") and the 405-line system which started as 5:4 and later changed to 4:3. The 405-line system adopted the (at that time) revolutionary idea of interlaced scanning to overcome the flicker problem of the 240-line with its 25 Hz frame rate. The 240-line system could have doubled its frame rate but this would have meant that the transmitted signal would have doubled in bandwidth, an unacceptable option.

Colour broadcasts started at similarly higher resolutions, first with the US NTSC color system in 1953, which was compatible with the earlier B&W systems and therefore had the same 525 lines (480i) of resolution. European standards did not follow until the 1960s, when the PAL and SECAM colour systems were added to the monochrome 625 line (576i) broadcasts.

Since the formal adoption of digital video broadcasting's (DVB) widescreen HDTV transmission modes in the early 2000s the 525-line NTSC (and PAL-M) systems as well as the European 625-line PAL and SECAM systems are now regarded as standard definition television systems. In Australia, the 625-line digital progressive system (with 576 active lines) is officially recognized as high-definition.^[3]

Analog systems[link]

Early HDTV broadcasting used analog technology, but today it is transmitted digitally and uses video compression.

In 1949, France started its transmissions with an 819 lines system (768i). It was monochrome only, it was used only on VHF for the first French TV channel, and it was discontinued in 1985.

In 1958, the Soviet Union developed Тransformator,^[4] the first high-resolution (definition) television system capable of producing an image composed of 1,125 lines of resolution aimed at providing teleconferencing for military command. It was a research project and the system was never deployed in the military or broadcasting.^[5]

In 1979, the Japanese state broadcaster NHK first developed consumer high-definition television with a 5:3 display aspect ratio.^[6] The system, known as Hi-Vision or MUSE after its Multiple sub-Nyquist sampling encoding for encoding the signal, required about twice the bandwidth of the existing NTSC system but provided about four times the resolution (1080i/1125 lines). Satellite test broadcasts started in 1989, with regular testing starting in 1991 and regular broadcasting of BS-9ch commenced on 25 November 1994, which featured commercial and NHK programming.

In 1981, the MUSE system was demonstrated for the first time in the United States, using the same 5:3 aspect ratio as the Japanese system.^[7] Upon visiting a demonstration of MUSE in Washington, US President Ronald Reagan was most impressed and officially declared it "a matter of national interest" to introduce HDTV to the USA.^[8]

Several systems were proposed as the new standard for the US, including the Japanese MUSE system, but all were rejected by the FCC because of their higher bandwidth requirements. At this time, the number of television channels was growing rapidly and bandwidth was already a problem. A new standard had to be more efficient, needing less bandwidth for HDTV than the existing NTSC.

Demise of analog HD systems[link]

The limited standardization of analogue HDTV in the 1990s did not lead to global HDTV adoption as technical and economic reasons at the time did not permit HDTV to use bandwidths greater than normal television.

Early HDTV commercial experiments such as NHK's MUSE required over four times the bandwidth of a standard-definition broadcast—and HD-MAC was not much better. Despite efforts made to reduce analog HDTV to about 2× the bandwidth of SDTV these television formats were still distributable only by satellite.

In addition, recording and reproducing an HDTV signal was a significant technical challenge in the early years of HDTV (Sony HDVS). Japan remained the only country with successful public broadcasting analog HDTV, with seven broadcasters sharing a single channel.

Rise of digital compression[link]

Since 1972, International Telecommunication Union's radio telecommunications sector (ITU-R) has been working on creating a global recommendation for Analogue HDTV. These recommendations however did not fit in the broadcasting bands which could reach home users. The standardization of MPEG-1 in 1993 also led to the acceptance of recommendations ITU-R BT.709.^[9] In anticipation of these standards the Digital Video Broadcasting (DVB) organisation was formed, an alliance of broadcasters, consumer electronics manufacturers and regulatory bodies. The DVB develops and agrees on specifications which are formally standardised by ETSI.^[10]

DVB created first the standard for DVB-S digital satellite TV, DVB-C digital cable TV and DVB-T digital terrestrial TV. These broadcasting systems can be used for both SDTV and HDTV. In the US the Grand Alliance proposed ATSC as the new standard for SDTV and HDTV. Both ATSC and DVB were based on the MPEG-2 standard. The DVB-S2 standard is based on the newer and more efficient H.264/MPEG-4 AVC compression standards. Common for all DVB standards is the use of highly efficient modulation techniques for further reducing bandwidth, and foremost for reducing receiver-hardware and antenna requirements.

In 1983, the International Telecommunication Union's radio telecommunications sector (ITU-R) set up a working party (IWP11/6) with the aim of setting a single international HDTV standard. One of the thornier issues concerned a suitable frame/field refresh rate, the world already having split into two camps, 25/50 Hz and 30/60 Hz, related by reasons of picture stability to the frequency of their main electrical supplies.

The IWP11/6 working party considered many views and through the 1980s served to encourage development in a number of video digital processing areas, not least conversion between the two main frame/field rates using motion vectors, which led to further developments in other areas. While a comprehensive HDTV standard was not in the end established, agreement on the aspect ratio was achieved.

Initially the existing 5:3 aspect ratio had been the main candidate but, due to the influence of widescreen cinema, the aspect ratio 16:9 (1.78) eventually emerged as being a reasonable compromise between 5:3 (1.67) and the common 1.85 widescreen cinema format. (Bob Morris explained that the 16:9 ratio was chosen as being the geometric mean of 4:3, Academy ratio, and 2.4:1, the widest cinema format in common use, in order to minimize wasted screen space when displaying content with a variety of aspect ratios.^[11])

An aspect ratio of 16:9 was duly agreed at the first meeting of the IWP11/6 working party at the BBC's Research and Development establishment in Kingswood Warren. The resulting ITU-R Recommendation ITU-R BT.709-2 ("Rec. 709") includes the 16:9 aspect ratio, a specified colorimetry, and the scan modes 1080i (1,080 actively interlaced lines of resolution) and 1080p (1,080 progressively scanned lines). The British Freeview HD trials used MBAFF, which contains both progressive and interlaced content in the same encoding.

It also includes the alternative 1440×1152 HDMAC scan format. (According to some reports, a mooted 750-line (720p) format (720 progressively scanned lines) was viewed by some at the ITU as an enhanced television format rather than a true HDTV format,^[12] and so was not included, although 1920×1080i and 1280×720p systems for a range of frame and field rates were defined by several US SMPTE standards.)

Inaugural HDTV broadcast in the United States[link]

HDTV technology was introduced in the United States in the 1990s by the Digital HDTV Grand Alliance, a group of television, electronic equipment, communications companies consisting of AT&T Bell Labs, General Instrument, MIT, Philips, Sarnoff, Thomson, Zenith and the Massachusetts Institute of Technology. Field testing of HDTV at 199 sites in the United States was completed August 14, 1994.^[13] The first public HDTV broadcast in the United States occurred on July 23, 1996 when the Raleigh, North Carolina television station WRAL-HD began broadcasting from the existing tower of WRAL-TV south-east of Raleigh, winning a race to be first with the HD Model Station in Washington, D.C., which began broadcasting July 31, 1996 with the callsign WHD-TV, based out of the facilities of NBC owned and operated station WRC-TV.^[14][15][16] The American Advanced Television Systems Committee (ATSC) HDTV system had its public launch on October 29, 1998, during the live coverage of astronaut John Glenn's return mission to space on board the Space Shuttle Discovery.^[17] The signal was transmitted coast-to-coast, and was seen by the public in science centers, and other public theaters specially equipped to receive and display the broadcast.^[17][18]

European HDTV broadcasts[link]

The first HDTV transmissions in Europe, albeit not direct-to-home, begin in 1990, when the Italian broadcaster RAI and Japanese broadcaster NHK used the HD-MAC and MUSE HDTV technologies to broadcast the 1990 FIFA World Cup. The matches were shown in 8 cinemas in Italy and 2 in Spain. The connection with Spain was made via the Olympus satellite link from Rome to Barcelona and then with a fiber optic connection from Barcelona to Madrid. After some HDTV transmissions in Europe the standard was abandoned in the mid-1990s.

The first regular broadcasts started on January 1, 2004 when the Belgian company Euro1080 launched the HD1 channel with the traditional Vienna New Year's Concert. Test transmissions had been active since the IBC exhibition in September 2003, but the New Year's Day broadcast marked the official launch of the HD1 channel, and the official start of direct-to-home HDTV in Europe.^[19]

Euro1080, a division of the Belgian TV services company Alfacam, broadcast HDTV channels to break the pan-European stalemate of "no HD broadcasts mean no HD TVs bought means no HD broadcasts ..." and kick-start HDTV interest in Europe.^[20] The HD1 channel was initially free-to-air and mainly comprised sporting, dramatic, musical and other cultural events broadcast with a multi-lingual soundtrack on a rolling schedule of 4 or 5 hours per day.

These first European HDTV broadcasts used the 1080i format with MPEG-2 compression on a DVB-S signal from SES's Astra 1H satellite. Euro1080 transmissions later changed to MPEG-4/AVC compression on a DVB-S2 signal in line with subsequent broadcast channels in Europe.

The number of European HD channels and viewers has risen steadily since the first HDTV broadcasts, with SES's annual Satellite Monitor market survey for 2010 reporting more than 200 commercial channels broadcasting in HD from Astra satellites, 185 million HD-Ready TVs sold in Europe (£60 million in 2010 alone), and 20 million households (27% of all European digital satellite TV homes) watching HD satellite broadcasts (16 million via Astra satellites).^[21]

In December 2009 the United Kingdom became the first European country to deploy high definition content on digital terrestrial television (branded as Freeview) using the new DVB-T2 transmission standard as specified in the Digital TV Group (DTG) D-book. The Freeview HD service currently contains 4 HD channels and is now rolling out region by region across the UK in accordance with the digital switchover process.

Notation[link]

HDTV broadcast systems are identified with three major parameters:

• Frame size in pixels is defined as number of horizontal pixels × number of vertical pixels, for example 1280 × 720 or 1920 × 1080. Often the number of horizontal pixels is implied from context and is omitted, as in the case of 720p and 1080p.
• Scanning system is identified with the letter p for progressive scanning or i for interlaced scanning.
• Frame rate is identified as number of video frames per second. For interlaced systems an alternative form of specifying number of fields per second is often used.^{[citation needed]}

If all three parameters are used, they are specified in the following form: [frame size][scanning system][frame or field rate] or [frame size]/[frame or field rate][scanning system].^{[citation needed]} Often, frame size or frame rate can be dropped if its value is implied from context. In this case the remaining numeric parameter is specified first, followed by the scanning system.

For example, 1920×1080p25 identifies progressive scanning format with 25 frames per second, each frame being 1,920 pixels wide and 1,080 pixels high. The 1080i25 or 1080i50 notation identifies interlaced scanning format with 25 frames (50 fields) per second, each frame being 1,920 pixels wide and 1,080 pixels high.^{[citation needed]} The 1080i30 or 1080i60 notation identifies interlaced scanning format with 30 frames (60 fields) per second, each frame being 1,920 pixels wide and 1,080 pixels high.^{[citation needed]} The 720p60 notation identifies progressive scanning format with 60 frames per second, each frame being 720 pixels high; 1,280 pixels horizontally are implied.

50 Hz systems support three scanning rates: 25i, 25p and 50p. 60 Hz systems support a much wider set of frame rates: 23.976p, 24p, 29.97i/59.94i, 29.97p, 30p, 59.94p and 60p. In the days of standard definition television, the fractional rates were often rounded up to whole numbers, e.g. 23.976p was often called 24p, or 59.94i was often called 60i. 60 Hz high definition television supports both fractional and slightly different integer rates, therefore strict usage of notation is required to avoid ambiguity. Nevertheless, 29.97i/59.94i is almost universally called 60i, likewise 23.976p is called 24p.^{[citation needed]}

For commercial naming of a product, the frame rate is often dropped and is implied from context (e.g., a 1080i television set). A frame rate can also be specified without a resolution. For example, 24p means 24 progressive scan frames per second, and 50i means 25 interlaced frames per second.^[22]

There is no standard for HDTV colour support. Until recently the color of each pixel was regulated by three 8-bit color values, each representing the level of red, blue, and green which defined a pixel colour. Together the 24 total bits defining colour yielded just under 17 million possible pixel colors. Recently^{[update][when?]} some manufacturers have produced systems that can employ 10 bits for each colour (30 bits total) which provides for a palette of 1 billion colors, saying that this provides a much richer picture, but there is no agreed way to specify that a piece of equipment supports this feature. Human vision can only discern approximately 1 million colours so an expanded colour palette is of questionable benefit to consumers.

Most HDTV systems support resolutions and frame rates defined either in the ATSC table 3, or in EBU specification. The most common are noted below.

High-definition display resolutions[link]

At a minimum, HDTV has twice the linear resolution of standard-definition television (SDTV), thus showing greater detail than either analog television or regular DVD. The technical standards for broadcasting HDTV also handle the 16:9 aspect ratio images without using letterboxing or anamorphic stretching, thus increasing the effective image resolution.

A very high resolution source may require more bandwidth than available in order to be transmitted without loss of fidelity. The lossy compression that is used in all digital HDTV storage and transmission systems will distort the received picture, when compared to the uncompressed source.

Standard frame or field rates[link]

ATSC table 3 defines the following frame rates for digital high-definition television.^[23]

• 23.976 Hz (film-looking frame rate compatible with NTSC clock speed standards)
• 24 Hz (international film and ATSC high-definition material)
• 25 Hz (PAL, SECAM film, standard-definition, and high-definition material)
• 29.97 Hz (NTSC standard-definition material)
• 59.94 Hz (ATSC high-definition material)
• 60 Hz (ATSC high-definition material)

The optimum format for a broadcast depends upon the type of videographic recording medium used and the image's characteristics. For best fidelity to the source the transmitted field ratio, lines, and frame rate should match those of the source.

Although PAL, SECAM and NTSC frame rates technically apply only to standard definition television, not HD, with the roll out of HD, countries maintained the heritage of their former systems. HDTV in former PAL countries operates at a frame rate of 50 Hz and HDTV in former NTSC countries operates at 60 Hz.^[24]

Types of media[link]

Standard 35mm photographic film used for cinema projection has a much higher image resolution than HDTV systems, and is exposed and projected at a rate of 24 frames per second (frame/s). To be shown on standard television, in PAL-system countries, cinema film is scanned at the TV rate of 25 frame/s, causing a speedup of 4.1 percent, which is generally considered acceptable. In NTSC-system countries, the TV scan rate of 30 frame/s would cause a perceptible speedup if the same were attempted, and the necessary correction is performed by a technique called 3:2 Pulldown: Over each successive pair of film frames, one is held for three video fields (1/20 of a second) and the next is held for two video fields (1/30 of a second), giving a total time for the two frames of 1/12 of a second and thus achieving the correct average film frame rate.

Non-cinematic HDTV video recordings intended for broadcast are typically recorded either in 720p or 1080i format as determined by the broadcaster. 720p is commonly used for Internet distribution of high-definition video, because most computer monitors operate in progressive-scan mode. 720p also imposes less strenuous storage and decoding requirements compared to both 1080i and 1080p. 1080p-24 frame/s and 1080i-30 frame/s is most often used on Blu-ray Disc; as of 2011, there is still no disc that can support full 1080p-60 frame/s.

Contemporary systems[link]

Besides an HD-ready television set, other equipment may be needed to view HD television. In the US, cable-ready TV sets can display HD content without using an external box. They have a QAM tuner built-in and/or a card slot for inserting a CableCARD.^[25]

High-definition image sources include terrestrial broadcast, direct broadcast satellite, digital cable, IPTV, Blu-ray video disc (BD), and internet downloads. Sony's PlayStation 3 has extensive HD compatibility because of the Blu-ray platform, so does Microsoft's Xbox 360 with the addition of Netflix streaming capabilities, and the Zune marketplace where users can rent or purchase digital HD content.^[26] The HD capabilities of the consoles has influenced some developers to port games from past consoles onto the PS3 and 360, often with remastered graphics.

Recording and compression[link]

HDTV can be recorded to D-VHS (Digital-VHS or Data-VHS), W-VHS (analog only), to an HDTV-capable digital video recorder (for example DirecTV's high-definition Digital video recorder, Sky HD's set-top box, Dish Network's VIP 622 or VIP 722 high-definition Digital video recorder receivers, or TiVo's Series 3 or HD recorders), or an HDTV-ready HTPC. Some cable boxes are capable of receiving or recording two or more broadcasts at a time in HDTV format, and HDTV programming, some included in the monthly cable service subscription price, some for an additional fee, can be played back with the cable company's on-demand feature.

The massive amount of data storage required to archive uncompressed streams meant that inexpensive uncompressed storage options were not available in the consumer market until recently. In 2008 the Hauppauge 1212 Personal Video Recorder was introduced. This device accepts HD content through component video inputs and stores the content in an uncompressed MPEG transport stream (.ts) file or Blu-ray format .m2ts file on the hard drive or DVD burner of a computer connected to the PVR through a USB 2.0 interface.

Realtime MPEG-2 compression of an uncompressed digital HDTV signal is prohibitively expensive for the consumer market at this time, but should become inexpensive within several years (although this is more relevant for consumer HD camcorders than recording HDTV). Analog tape recorders with bandwidth capable of recording analog HD signals such as W-VHS recorders are no longer produced for the consumer market and are both expensive and scarce in the secondary market.

In the United States, as part of the FCC's plug and play agreement, cable companies are required to provide customers who rent HD set-top boxes with a set-top box with "functional" FireWire (IEEE 1394) upon request. None of the direct broadcast satellite providers have offered this feature on any of their supported boxes, but some cable TV companies have. As of July 2004^[update], boxes are not included in the FCC mandate. This content is protected by encryption known as 5C.^[27] This encryption can prevent duplication of content or simply limit the number of copies permitted, thus effectively denying most if not all fair use of the content.

See also[link]

• Ultra High Definition Television
• HDTV blur
• H.265
• List of digital television deployments by country

References[link]

External links[link]

Wikimedia Commons has media related to: High-definition television

Techno-History

• The Italian HDTV experience from 1980s to 2006 - in Italian - C.R.I.T./RAI
• High Definition Television: The Creation, Development and Implementation of HDTV Technology (McFarland & Company, 2012)
• The HDTV Archive Project

Ultra HDTV

• What is Ultra HDTV?

Standard HDTV

• Technology, Television, and Competition (New York: Cambridge University Press, 2004)
• Sony HD TV
• HDTV Store
• Images formats for HDTV, article from the EBU Technical Review.
• High Definition for Europe – a progressive approach, article from the EBU Technical Review.
• High Definition (HD) Image Formats for Television Production, technical report from the EBU
• HDTV in Germany: Lack of Innovation Management Leads to Market Failure, diffusion of HDTV in Germany from the DIW Berlin

Look up high definition in Wiktionary, the free dictionary.

High-definition refers to an increase in display or visual resolution such as in:

• High-definition television (HDTV), television formats that have a higher resolution than their contemporary counterparts
• High-definition video, used in HDTV broadcasting, as well as digital film and computer HD video file formats
• High-Definition Multimedia Interface (HDMI), all-digital audio/video interface capable of transmitting uncompressed streams
• HDV, format for recording high-definition video onto magnetic tape
• HD DVD, discontinued optical disc format
• Blu-ray Disc, a high resolution video optical disc format
• High definition sound effects are artificially created or enhanced sound effects that are recorded at 24-bit/48kHz or above
• Intel High Definition Audio (HD Audio), device driver interface (DDI) for audio and modem drivers developed by Intel
• DVD-Audio, optical DVD standard that focuses on high-definition and surround audio, published by the DVD Forum
• HiDef, 24 frames-per-second digital video format

Music[link]

• "Hi-Definition", 2008 single from Lupe Fiasco's The Cool
• High Definition (Shootyz Groove album), 1999
• High Definition (Vitalij Kurprij album), 1997

See also[link]

• HD Radio, name for iBiquity's "hybrid digital" radio system
• JPEG XR, image file format formerly known as Windows Media Photo and HD Photo
• High Definition (radio program), a 2006 Canadian radio program

This disambiguation page lists articles associated with the same title. If an internal link led you here, you may wish to change the link to point directly to the intended article.

Flo Rida
Flo Rida on the set of "Sugar" in 2009.
Background information
Birth name	Tramar Dillard
Born	(1979-12-16) December 16, 1979 (age 32) Carol City, Florida, U.S.
Genres	Hip hop
Occupations	Rapper, songwriter, actor
Years active	2006–present
Labels	Atlantic, Poe Boy, International Music Group, Strong Arm
Associated acts	Akon, Brisco, Lady Gaga, Timbaland, David Guetta, Kesha, T-Pain, Nicki Minaj , Taio Cruz, Sia Furler, Ne-Yo, Avicii
Website	officialflo.com

Tramar Dillard (born December 16, 1979) better known by his stage name Flo Rida (pronounced  /floʊ ˈraɪdə/), is an American rapper. He released his debut album, Mail on Sunday, in March 2008. His debut single "Low", featuring T-Pain, was a No. 1 hit for ten weeks in United States in early 2008. Two other singles resulted from Mail on Sunday: "Elevator" and "In the Ayer". In 2009, his second album R.O.O.T.S. was released; its most successful single "Right Round" was at the top of the Hot 100 for six weeks. Since then, he has released his third studio album titled Only One Flo (Part 1), which will see a sequel titled Wild Ones.

Biography[link]

Early life and career beginnings[link]

Tramar Dillard was born in the 187th Street projects of Carol City, Florida.^[1] His mother raised him and his seven sisters, some of whom sang in a local gospel group.^[2] Dillard's brother-in-law was a hypeman for local rap group 2 Live Crew, and while in ninth grade, Dillard formed his own amateur group with some friends called the GroundHoggz.^[3] Born and raised in Miami, the GroundHoggz formed in the 187 apartments in Carol City. Similar to Goodie Mob, they were making music for the love of the art and to feed their souls. With only three members, 1Bred, Key Lime, and Fist, they found their missing link when Flo Rida, who lived in the same apartments, spit a verse for them. They were instantly impressed. Together for eight years, they started recording at underground studios in Carver Ranches.^[4] His work with 2 Live Crew member Fresh Kid Ice attracted the attention of DeVante Swing, a member of the band Jodeci. However, he was rejected by several of the major labels, so he sought many other jobs outside of music.^[5] After graduating from high school in 1998, he studied international business management at the University of Nevada, Las Vegas for two years and attended Barry University for two months.^[5][6] He returned to Florida to continue pursuing his music career after receiving a phone call from a representative of the independent label Poe Boy Entertainment.^[5] Dillard signed with Poe Boy in 2006, and as Flo Rida he began affiliating with other artists, such as Rick Ross, Trina, T-Pain, and Trick Daddy. A promotional street single entitled "Birthday", featuring Rick Ross, was his first significant release. He made his debut guest appearance with the song "Bitch I'm from Dade County" on DJ Khaled's album We the Best, which featured Trick Daddy, Trina, Rick Ross, Brisco, C-Ride, and Dre.^[7]

[edit] 2007–08: Mail on Sunday

Rehearsing for the 2008 MuchMusic Video Awards in Toronto.

Flo Rida's first single was "Low", featuring T-Pain. It was his first official single from his debut album Mail On Sunday and the soundtrack to the movie Step Up 2: The Streets. "Low" reached No. 1 on the Billboard Hot 100 chart.^[7] "Elevator", featuring Timbaland, "In the Ayer" featuring will.i.am, and "Roll" featuring Sean Kingston followed and all charted on the Hot 100 and other charts.^[8]

T-Pain, who laced the first single, is only one of the many featured guests throughout the album. Timbaland, who produced the second single "Elevator", is also featured on the track. Rick Ross, and Trey Songz made appearances as well.^[9] Lil Wayne has also been added to the list^[9] with assistance on the "American Superstar" track while Sean Kingston appears on the J. R. Rotem-produced "Roll" the concept was created, and co-written by Compton rapper Spitfiya, from The Bullets Production Team, Various other guests include Birdman, Brisco, and Yung Joc. The third single is "In the Ayer" featuring Will.i.am. The fourth single was scheduled to be "Money Right" featuring Brisco, and Rick Ross, but was canceled due to the release of his upcoming second studio album R.O.O.T.S. His second collaboration with T-Pain, "I Bet", as well as his collaboration with Trina, named "Bout It", both didn't make the final tracklist, but were recorded. As for production, J. R. Rotem, DJ Montay, and Timbaland all provided tracks for Mail on Sunday, among others.

After the success of Mail on Sunday, Flo Rida made guest performances on other R&B, rap, and pop singles, including "Move Shake Drop" by DJ Laz, "We Break the Dawn" by Michelle Williams, the remix of "4 Minutes" by Madonna, "Running Back" by Australian R&B singer Jessica Mauboy, "Feel It" by DJ Felli Fel, and the remix of "Speedin'" by Rick Ross. During the summer of 2008, he did live performances on the Fox dance competition program So You Think You Can Dance in the US^[10] and 2008 MuchMusic Video Awards in Canada.^[11] He appeared on the albums We Global by DJ Khaled, Gutta by Ace Hood, and The Fame by Lady Gaga, among others.

[edit] 2009–10: R.O.O.T.S.

Flo Rida performing "Right Round" at the Circus Club in Finland on July 9, 2009.

According to Billboard magazine, Flo Rida began recording his sophomore nine months after Mail On Sunday. The album is titled R.O.O.T.S. and was released on March 31, 2009.^[12] The first single "Right Round" featured Ke$ha and was released for airplay in January 2009. "Right Round" jumped from number 58 to the top spot in one week in late February. The song broke a record for the most digital one week sales in the U.S., with 636,000, beating the previous record he had set himself with "Low".^[13] "Right Round" sampled "You Spin Me Round (Like a Record)", a 1985 hit by Dead or Alive.^[14] The second official single was "Sugar", which featured R&B singer Wynter Gordon. The song reached No. 5 on the Billboard Hot 100. "Jump" is the third official single and was released on July 27, 2009 in the UK, and July 28, 2009 worldwide.^[15] The song features Canadian singer Nelly Furtado. As of August 13, 2009 it has peaked at number fifty-four in the US, number twenty-seven in Canada, number twenty-one in the UK, and number eighteen in Australia. "Be on You" has been confirmed as the album's fourth official single for a release on October 6, 2009. The song features American singer Ne-Yo. When the album was released the single debuted at number ninety in the US. The song has received airplay since the albums release, and has since peaked at number nineteen in the US, and number fifty-one in the UK. "Available" was going to be released on iTunes but was cancelled. It charted at number 120 in Ireland. The song features Akon. A music video was also shot in mid-2009.^[16] R.O.O.T.S. debuted at number eight on the Billboard 200 chart, selling 55,000 copies in its first week.^[17] As of August, 2009, the album has sold 223,000 copies in the United States, and 536,000 worldwide. By the end of 2009, the album sold 247,000 copies becoming the eighth best selling rap album of 2009.^[18]

Flo Rida made guest performances on "Feel It" by DJ Felli Fel, "Starstruck" by Lady Gaga, and "Feel It" by Three 6 Mafia. "Bad Boys", the first single by winner of British reality show The X Factor Alexandra Burke that featured Flo Rida, debuted at No. 1 on the UK Singles Chart in October.^[19]

[edit] 2010–11: Only One Flo (Part 1)

Flo Rida's third album Only One Flo (Part 1) was released on November 24, 2010. In March 2010, Flo Rida announced on Twitter that the album would be titled The Only One.^[20] Billboard reported that The Only One was to be a double album.^[21] A promo single, titled "Zoosk Girl", which features T-Pain, was released on the internet, though the song is not featured on the album, the single does have its own music video. On June 28, 2010, Flo Rida released the song "Club Can't Handle Me" featuring David Guetta, which was stated to be the official first single for the album. The song was also featured in the Step Up 3D soundtrack.^[22] On November 2, 2010, "Come with Me" was released as the first promo single for the album, along with "Puzzle", produced, and featuring by Electrixx, which isn't featured on the album. On November 16, 2010, "Turn Around (5, 4, 3, 2, 1)" was released as the second official promo single for the album via the iTunes Store.^[23] It debuted on the Australian Singles Chart at number thirty-four on November 29, 2010.^[24] After the release of the album in the UK, "Who Dat Girl" started to receive a strong amount of downloads, thus causing it to debut at number 136^[25] on the UK Singles Chart and chart at a current peak of number thirty-one on the UK R&B Chart.^[26] "Why You Up In Here" was released as the fourth single, and third promo single, on May 11, 2011. The song features Ludacris, Gucci Mane, and Git Fresh.

Flo Rida also made guest appearances on "iYiYi", a song by Australian teen singer Cody Simpson, and on the song "Out My Video" by Bulgarian singer LiLana. Flo Rida collaborated with UK girl group The Saturdays, recording a new version of the girl's single, "Higher".^[27] In December 2010, the Associated Press reported that Flo Rida had created his own label, International Music Group, inspired by Nicki Minaj's signing with Lil Wayne's. He has signed an 18 year-old rapper, Brianna^[28] and Git Fresh^[29] to International. Lately, Flo Rida has teamed up with the Malaysian singer, Mizz Nina, on a song called Take Over.

Driving issues[link]

On June 9, 2011, Flo Rida was arrested in Miami Beach, Florida for DUI and driving with a suspended license.^[30][31] Flo Rida was released from jail after he posted $2,000 bail and obtained a signed court order allowing him to travel to Asia for a series of previously scheduled concerts in Bangkok over the weekend.^[32]

[edit] 2011–present: Wild Ones

Flo Rida performing live in 2012.

The first single from Rida's upcoming album, Wild Ones, originally Only One Rida (Part 2), is "Good Feeling", released on August 29, 2011.^[33] The songs samples "Levels" by Avicii, which samples Etta James' 1962 song, "Something's Got a Hold on Me". Following the death of Etta James on January 20, 2012, Flo Rida dedicated the song in her memory.^[34] The song has peaked at No. 3 on the Hot 100,^[35] topped the charts in Austria,^[36] Germany,^[37] Scotland,^[38] and the UK. It has also reached the top five in nine different countries worldwide.

On April 1, Flo Rida made an appearance at WrestleMania XXVIII and have a segment with Heath Slater, Curt Hawkins and Tyler Reks where Heath calls Flo Rida "Florida" and Flo Rida shoves him into a wall; making Tyler and Curt come out laughing at Heath. Later that night Flo Rida performed "Wild Ones" and "Good Feeling" before Dwayne "The Rock" Johnson came out to battle John Cena. On April 6, 2012 and exclusive Australian EP entitled Good Feeling was released in Australia which contains six of his biggest hits and two remixes.^[39] It debuted at No. 21 on the Australian ARIA Albums Chart^[40] On May 22, 2012, Flo Rida performed and closed the show at the first Q102 Springle Ball Concert, the following day he performed "Goin' In" with Jennifer Lopez on the America Idol finale.

Discography[link]

• Mail on Sunday (2008)
• R.O.O.T.S. (2009)
• Only One Flo (Part 1) (2010)
• Wild Ones (2012)

Awards and nominations[link]

References[link]

External links[link]

• Official website

Felix Baumgartner (born 20 April 1969 in Salzburg, Austria) is an Austrian skydiver and a BASE jumper. He is renowned for the particularly dangerous nature of the stunts he has performed during his career. Baumgartner spent time in the Austrian military where he practiced parachute jumping, including training to land on small target zones.

Biography[link]

He was born on 20 April 1969 in Salzburg, Austria.^[1]

In 1999 he claimed the world record for the highest parachute jump from a building when he jumped from the Petronas Towers in Kuala Lumpur, Malaysia.^[2]

On 31 July 2003, Baumgartner became the first person to skydive across the English Channel using a specially made fibre wing.^[3]

Baumgartner set the world record for the lowest BASE jump ever, from the hand of the Christ the Redeemer statue in Rio de Janeiro.^[4]

He became the first person to BASE jump from the completed Millau Viaduct in France on 27 June 2004^{[citation needed]} and the first person to sky dive onto, then BASE jump from, the Turning Torso building in Malmö, Sweden on 18 August 2006.^[5]

On 12 December 2007 he became the first person to jump from the 91st floor observation deck, then went to the 90th floor (about 390 m (1,280 ft)) of the then tallest completed building in the world, Taipei 101, Taipei, Taiwan.^[6]

[edit] Red Bull Stratos

In January 2010, it was reported that Baumgartner was working with a team of scientists and sponsor Red Bull to attempt the highest sky-dive on record.^[7] Baumgartner was going to make the 120,000 ft (36,600 m) jump from a capsule suspended from a balloon filled with helium, intending to become the first parachutist to break the sound barrier; the feat was scheduled to take place sometime in 2011.^[8][9][10] Joseph Kittinger, who holds the records Baumgartner is attempting to break, was advising Baumgartner during the "Stratos" mission in the hopes of getting scientific data on next-generation full pressure suits.^[7][11] However, on October 12, 2010, Red Bull announced it was placing the project on hold after Daniel Hogan filed a lawsuit in California Superior Court in Los Angeles, California in April, claiming he had originated the idea of the parachute dive from the edge of space in 2004 and that Red Bull had stolen the idea from him.^[12][13] The lawsuit was resolved out of court in June 2011^[14] and on 5 February 2012, The Daily Telegraph reported that the project would be resumed.^[15]

On 15 March 2012 he completed the first of two test jumps from 71,581 feet (21,818 m). During the jump he spent approximately three minutes and 43 seconds in free fall, reaching speeds of more than 360 miles per hour (580 km/h), before opening his parachute. In total, the jump lasted approximately eight minutes and eight seconds and Baumgartner became only the third person to safely parachute from a height of over 13.5 miles (21.7 km).^[16]

See also[link]

• Michel Fournier, who has been working on a 25 mile jump for several years.^[17]
• Joseph Kittinger, world record holder for skydiving from 102,800 ft
• Yves Rossy, the first man to cross the English Channel using a jet-powered wing

References[link]

External links[link]

• Official website
• Red Bull Stratos Project
• Felix Jumping from the Christ Redemeer - Rio de Janeiro - Brazil

External media
	Felix Baumgartner